#After all shapes is personality wise theater and acting themed without actually being an actor (well atleast not at first whatever u get it

[askamnesiamoonjumper]

Bro help i cant stop adding characters please its becoming a serious problem

[monotonous-minutia]

Third question: pick an opera you’ve seen several productions of and compare/contrast those productions in as many or few ways as you wish

So, Zauberflöte is one of my favorite operas, but I don’t talk about it too much. I think it might be because it’s honestly hard to find a decent production of this one. Like, yes, the opera itself is super whack, but I don’t understand the need to make it even more ridiculous with bizarre sets/costumes/staging/etc. So most of the time I don’t even finish them. My method is usually this: 1) See if the overture is staged and how. 2) Check out the set and costumes and see how bizarre/distracting they are. 3) Watch Papageno’s first aria to see how they handle him. 4) Watch Monostatos’s first scene to see how they handle him. 5) If the first Monostatos scene is questionable watch his aria. If all of this is passable, I’ll start over and watch the whole thing. A lot of times, productions don’t pass the test. However, there are four that I have seen that I really enjoyed.

Drottingholm Court Theater, 1989

The first Zauberflote I ever saw was also the first opera I ever saw, so it’s very special to me. The production is glorious; lush sets and costumes set in the time it was written; intricate staging that really brings out the character’s personalities and motivations; an excellent cast with an especially expressive Pamina who most of the time isn’t there for Sarastro’s BS. Papageno is adorable and hilarious and the production does NOT make fun of him, which is refreshing. This is my favorite Sarastro; the actor (Lazlo Polgar) is so phenomenal that I can actually see Sarastro as the kind, wise, loving figure he’s supposed to be (but the misogyny is still there because it’s unavoidable). The Queen of the Night is regal, majestic, and terrifying. During her second aria she spends a lot of the coloratura staring manically into the audience. Two of my favorite bits of staging: At the end of Act I, when the villagers start to arrive to greet Sarastro, Papageno notices a cute girl in the crowd and starts flirting with her. Later we find out that she’s Papagena, and it’s simply adorable and makes their reunion all the more genuine. The other is at the very end during the Act II finale. They stage it as if Sarastro is performing a wedding ceremony for Pamina and Tamino and in the last moment Papageno and Papagena run in holding hands and go stand next to them so it becomes a double wedding and Sarastro gives them this huge smile and my heart just melts. An interesting choice they make is that the Pamina-Tamino duet where they’re saying their “final farewell” (“Soll ich dich teurer nicht mehr sehn?”) is at the beginning of Act II before Tamino leaves for his trials, which makes more sense because he is talking to Pamina and if it happens after Pamina’s aria it doesn’t make sense because he just listened to her say she was going to kill herself without responding and now all of a sudden he’s talking to her. So I like that they put it here because it makes their conversation more believable. The only thing I don’t like about it is the way they handle Monostatos; it’s not unique to this production, but that obviously doesn’t excuse it. A sad mark on an otherwise impeccable production. Unfortunately I can’t find this anywhere online; I just own the DVD, so while I’d recommend it highly, I doubt people will be able to find it.

Convent Garden, 2003

The second one I ever saw. Delightful in so many ways. I LOVE this Papageno and Pamina and the production really highlights the fact that they’re a team in the second part of Act I and it’s so stinking cute. The costumes don’t have a specific theme going on as far as I can tell, but I’m also not great with recognizing stuff like that. The set is relatively simple and doesn’t go out of its way to be flashy or outstanding. We get the cutest Pamina in existence, Dorothea Röschmann, who also isn’t there for Sarastro’s BS and frankly not Tamino’s either but there’s not a lot she can do about any of that. Damrau is the Queen of the Night and she is a QUEEN. Eek. This Tamino is VERY annoyed with Papageno to the point of being almost mean but Papageno eventually starts fighting back which is heartening. His line about being able to be a man too by not saying anything during Pamina’s suicidal aria is clearly a burn and after that he takes his stuff and goes offstage, instead of following Tamino like he does in every other production I’ve seen, as if he’s just done with him. They actually don’t interact again after that so I can imagine they just go their separate ways, which is kind of sad, but this production really doesn’t portray the bromance between them that others do. I do hope he gets to see Pamina again though. Papageno’s duet with Papagena is the cutest thing in the world and Papagena herself is illegally adorable. Also Pamina deserves much more than what these men give her. I hope either Tamino shapes up or she leaves him eventually. This one also remedies some of the racism by having Monostatos and his minions be zombies, which looks odd compared to the rest of the set and costumes but is appreciated. They also fix some of the wording in his aria (which I caught with my limited German skills) which also helps. This Sarastro is pretty nice too but not as expressive as Polgar and his staging isn’t as intricate. Overall though I love this one primarily for Keenlyside’s Papageno, Damrau’s Queen, and Röschmann’s Pamina.

Bronx (can’t find a date)

This one is in English and the translation is really good and best of all gets rid of some of the racism/misogyny so yay! The cast is really good at portraying the characters, and they embrace the comic and dramatic elements with equal weight, and there’s more diversity than is often seen. This Queen freaking SLAYS. And Pamina makes me cry. A lot. We get a lot of the missing dialogue here which helps flesh out the story and which I really appreciate because I’m kind of tired of people bashing the libretto when a lot of the confusion comes from bad translations and the fact that huge chunks of the dialogue are taken out because conductors want to get to the music faster. Like there is SO MUCH banter between Tamino and Papageno that’s freaking hilarious but we hardly ever get to hear it. And there’s a lot more exposition in the Papageno-Pamina conversation at the top of Act I Scene II that clarifies a lot of what people complain is so confusing, as well as a longer conversation between Pamina and her mother in Act II that explains more of her backstory and the significance of the flute. So I love that this production keeps a lot of it in. The set and costumes are detailed and very pretty. Papageno’s feathers and green wig are kind of Extra but he’s so funny I can forgive it. Papagena is TINY and adorable. We actually get some genuine chemistry between Tamino and Pamina which is a rare treat. At the very end Papageno and Papagena run onstage and Papageno goes to hug Tamino which is very sweet, and Papagena goes to Pamina, which makes me wonder if maybe they knew each other before. After all, they’ve both been hanging out at Sarastro’s place for some time waiting for their men to get it together.

Loyola University New Orleans, 2014

This one also gets rid of a lot of the racism/misogyny through another great English translation and taking out the entire duet with the Two Priests where they’re basically just saying women are terrible and making changes to the portrayal of Monostatos and his lines. The cast is more diverse too which helps. It’s set in what looks like maybe Egypt, which kind of makes sense given the whole Isis/Osiris thing. However, Sarastro is obviously imitating Zeus with a huge white beard, white robe, and he carries a giant lightning bolt in some scenes, which makes for an odd juxtaposition. This Tamino is less Stand There and Look Handsome and more Let’s Get This Over With which is refreshing. Monostatos is hilarious and I kind of feel sorry for him. We get an extra sassy Papagena and it’s a joy. The Three Spirits are actually portrayed as women in this one instead of boys which also helps with diversity and lessening misogyny. It also keeps a lot of the missing dialogue which is appreciated. The interactions between the characters are detailed and genuine and make for a heartfelt production overall.

so there’s that. Thanks for the ask; I especially love ranting/rambling about opera productions!!

[alixofagnia]

Dear Star Wars Diary,

Today, I went to my fourth and final big screen viewing of TLJ. It was bittersweet because I will likely not be watching this movie in its entirety again until I own it. What follows are some musings I had as I watched it for the last time, in all its theater-experience glory.

SNOKE

I don’t want to get into the whole “Kylo Ren is abusive and a mind rapist beh!” debate because it’s stupid, on several levels.

I just want to make the point: Snoke is the abuser and the not-an-actual-thing mind rapist in this story.

PAIGE and the BOMBERS

On my first viewing, I thought the opening bombing scene was insanity. Like, it was awesome and beautiful, but totally insane. I was seething: “Tallie! What happened to protecting all the bombers?! Also, why did you send so many?”

[Numbers, of course, increase the chances for success. But still. Surely they didn’t have to send ALL the bombers? Leia’s rank over Poe should’ve disengaged the bombers. I don’t know if this is supposed to be addressed with Poe’s cutting off communication with Leia or in an implication that the Resistance squadrons and bombers are simply more loyal and/or responsive to Poe, which is a troubling notion.]

But these are small quibbles in a bigger picture because you know what? The bomber scene is probably one of the most memorable moments for me as a female moviegoer of Asian descent. I’m not someone who actively seeks/looks for cultural representation or diversity in movies of any scale. But I have to admit…I was really moved.

The images: a lone bomber flying toward destruction and glory; a sole survivor with dogged determination and belief in her cause; calm composure in the face of Death.

Ugh. My heart.

I do like Rose, but I was more affected by Paige’s death than I felt I should’ve been, and I think it’s because I felt an added touch of pride. Here, for the film’s first lesson on failure, our teacher is a female character with a face like mine. And she literally has a single spoken line: her comrade’s name.

That is awesome.

LEIA’S LONG LOOKS

-Sensing Kylo through the Force

-Leaving Holdo on the Raddus; watching Holdo die

-Staring down the TIE fighters on Crait (Seriously! I can’t believe those TIEs stayed airborne!)

-Feeling Luke’s death

These are just my personal favorites. Carrie Fisher got some good one-liners in for Leia. But I think she was never more powerful than in her silent acting. It’s just so exquisite. I trust how J.J. Abrams and co. will handle her absence from IX, I really do. That being said, I personally feel like Leia’s death will have to be written in: after her performance in TLJ, it’s just not plausible to have Leia alive but not at the center of the action, nor is it plausible to have her alive and just never show up in the entire movie, to just have her constantly be referred to by other characters.There’s no closure there, and this is a character who demands closure of some kind in this trilogy.

People have theorized on a funeral opening the film or occurring early, and I think this is generally a good idea. It really sucks to have her die off-screen. But under the circumstances, I don’t think it would be wise to have a scene where her ship explodes or something of that nature because it seems unnecessarily cruel but, more practically, could take time away from moving the story forward; everything would have to sort of revolve around that and stall. But if the death occurs off-screen and we open on a funeral, it’s a better jumping off point for the narrative and characters. If Leia’s life in IX was going to be a plot device, particularly as it pertained to her son’s arc, then her death (harsh as it is) could also conceivably serve the same purpose.

LUKE the LEGEND

I’ll be honest: I was never a big Luke Skywalker fan. I liked him by virtue of the fact that I was supposed to because he was the hero in the hero’s journey storyline. But I didn’t feel any deeper connection to that character, although I did feel like he began to ascend to legend status in RotJ and I always liked him best in that movie. So, that’s sort of where the character ended for me; I never read any of the old EU and I didn’t have him built up in my mind the same way some people obviously did.

I absolutely love that Luke became a legend in his lifetime after RotJ. But I love that he succumbed to hubris even more. It’s so real, so human. The higher you go, the harder you fall. What I really can’t understand about all these butt-hurt fanboys, who expected Luke to always be Luke the Legend and never-stop-nevering, is that not only did you get a humanized presentation of your hero, but he did in fact re-ascend to legend status in TLJ. That isn’t bad story-telling; that’s amazing story-telling!

I can’t believe there was anyone who didn’t get chills when Luke Skywalker stalked out of that burning cave to the staccato of a stirring John Williams march. Like, where the fuck are you in your head?

Luke the Legend projected himself across worlds to bring hope to his sister, who had finally used up all of hers, and to a rag-tag group of rebels forsaken by their allies. Luke the Legend projected himself across the galaxy to apologize to the nephew he had wronged, preventing Ben Solo from adding to the blood already on his hands, thus saving him in the only way he could.

Luke the Legend gave his life to save those he loved.

What is so fucking character-destroying about that?!

HOLDO and DJ

Two of my favorite characters from TLJ were Holdo and DJ. One of the most common complaints I’ve heard/read about the them is that two excellent actors were wasted.

That is so insulting. That’s a back-handed compliment. “Oh, hey, Laura and Benicio, you guys are really super great and talented. But you were shit in TLJ. They did you real dirty.”

Because, actually, both Holdo and DJ were there in case the GA got lost and confused about the whole “failing is learning” theme. It’s a credit to the talents of Laura Dern and Benicio del Toro that they actually did as much as they did with what little screen time they had. Darth LeakyLungs from RotS had all the screen time in the world and I don’t even remember his name! (Wait, was he even a Darth? I dunno.)

Look, you can tell me that you weren’t able to care about either character. That’s fine. That’s legit. Not all characters, big or small, will resonate with everyone.

But don’t you dare tell me they were pointless or that the actors were wasted, because that’s a terrible lie and you know it.

KYLO REDEMPTION

Ahhhh, my most favorite topic.

Every time I’ve gone to see TLJ, I’ve gone in trying to be convinced that this was the end of Kylo’s arc. He’s done for. IX will be all about his actual, for real downfall, he will no longer be conflicted, he will die and he will die in the Dark. It’s finished.

Wonder of all wonders, I’ve never been more convinced of a redemption in some shape or form. It’s that final shot of him, the literal final shot of him, hanging his head, staring at the ground, where there is nothing JUST LIKE WHAT’S LEFT OF HIS BUSTED HEART.

Here’s the thing: if they weren’t intent, from the outset of this trilogy, on sending Kylo Ren on an arc of some kind (the anti-hero’s journey to Rey’s hero’s journey where they meet in the middle), then they wouldn’t have gone to such lengths to portray him as conflicted in TFA and they definitely wouldn’t have devoted AN ENTIRE MOVIE to humanizing him, all without resolving the conflict he started with. If anything, TLJ should’ve left him on a slightly less ambiguously conflicted note.

The point is if he were slated to stay and rot in hell, we would’ve left him in TLJ on that long-suffering, rage-fueled scream after Luke disappears. That’s the perfect note to end a going-nowhere arc on. If it ended there, I would 100% be on board with Kylo Ren: Irredeemable Asshole. Prepare for him NOT to finish what Vader started. (What does that even mean, btw? I’ve always wondered. What did Vader start that he didn’t finish? The 2nd Death Star?)

But we freaking didn’t leave him there! Oh no, we left him broken to bits on some dirty floor in the middle of nowhere. Furthermore, if he wasn’t going to be redeemed, we certainly would NOT have been shown that he’s still Force-connected to Rey, who now –lacking Leia– must serve as his only (corporeal) thread to the Light.

I just want one thing: Let Kylo Ren turn however he’s going to turn –Gray, Yellow, Pink, Blue, whichever color– just do it early-ish. I cannot sit through another entire movie of Flip-Flop Kylo only for him to make an actual decision in the closing five minutes.

Talk about doing a character dirty.

REYLO HUG

I don’t know why it was this one of all viewings, but today when I was watching the Austen Proposal, all I could think was, “Ehrmygawd, Rey! You need a hug! And he needs a hug! Just go hug him!”

I love Reylo, but I’m exhausting myself on this ship lol. I love and generally agree with all the metas on why it couldn’t go the way she wanted it to or the way he wanted it to. But I just kept thinking, as I was sitting there watching their sticky, weepy-eyed faces for the millionth time, Seriously. Go hug him!

Like, after being hit in the face with the blunt truth, what if Rey had said fuck it to the hand and just thrown her arms around him? It wouldn’t have fixed their problems, obviously; it actually probably would’ve made them worse.

But it would’ve fixed mine for the next 2 years!